The communication intent in 'matéria disponível’ (‘available matter')
(2022)
author(s): rosinda casais
connected to: i2ADS - Research Institute in Art, Design and Society
published in: RUUKKU - Studies in Artistic Research
This article is based on the personal work 'matéria disponível’ (2020) by Rosinda Casais and proposes to analyse the importance of communication-driven art in its different stages. This work emerged from the objective to explore the outdoor space as a space to communicate, during the period of the first lock-down (social distancing) due to CoVID-19, from march to june 2020. Crossing this period, she and her 5 years old daughter used the debris that remained in the courtyard of the building, where both live, and started communicating through objects with the neighbours.
From the intention to interact with the other, this artwork fulfils itself, broadens and questions the communicative nature of the objects and the artistic practice as well.
Concepts, along with the capacity of the objects to change the atmosphere of a place and the common/individual memories, were developed during this work towards a sense of communication from/to it and is discussed here.
Performing Citizenship: Gathering (in the) Movement. The Choreographic Format of Circle Dancing and the Round Dance as a Matrix of Collective Action in the Context of Political Assemblies, Protests and Occupations.
(last edited: 2022)
author(s): Liz Rech
This exposition is in progress and its share status is: visible to all.
In the activist context of ‘movement’, the concept of movement with regard to the ‘moving body’ always involves three aspects: The political movement itself; the real physical, choreographic movement; as well as associated personal movement and connection to shared values. These three dimensions are aspects of a bodily practice, in which the collected bodies are present and vulnerable in assemblies like demonstrations or other acts of resistance in public space. These practices mark the field of study in which the political occurs on and in the ‘between-ness’ of the bodies. The article considers choreographic formats that appear in specific protest contexts: What insights can be discovered with regard to its generation of political dimensions? How can the role of the body and its ‘Response / Ability’ be defined within the context of political ethics? What practices of movement would respond to its necessities?
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This Chapter was published In: Hildebrandt, P., Evert, K., Peters, S., Schaub, M., Wildner, K., Ziemer, G. (Hrsg.): Performing Citizenship – Bodies, Agencies, Limitations. London 2019 (Palgrave). ISBN 978-3-319-97502-3
This open access book discusses how citizenship is performed today, mostly through the optic of the arts, in particular the performing arts, but also from the perspective of a wide range of academic disciplines such as urbanism and media studies, cultural education and postcolonial theory. It is a compendium that includes insights from artistic and activist experimentation. Each chapter investigates a different aspect of citizenship, such as identity and belonging, rights and responsibilities, bodies and materials, agencies and spaces, and limitations and interventions. It rewrites and rethinks the many-layered concept of citizenship by emphasising the performative tensions produced by various uses, occupations, interpretations and framings.
→ Open Acess: https://link.springer.com/book/10.1007%2F978-3-319-97502-3
Translating Atmospheres
(last edited: 2021)
author(s): Cecilia Berghäll
This exposition is in progress and its share status is: visible to all.
An ongoing research and exploration of what it means to think and feel through mediums.
Voic/musick/perform/ing: an intra-active spiritual matter?
(last edited: 2019)
author(s): Elisabeth Laasonen Belgrano
This exposition is in progress and its share status is: visible to all.
The role of a singer/musician/performer calls for an ability to capture the attention of an audience. In the 17th century the general concern would have been for the performer to develop musical and performative means in order to touch both hearts and souls of the listeners. In a blog from 2016, Finnish voice-artist Heidi Fast writes about a specific case study in a hospital environment (as part of her doctoral research) where she examines and explores the possibilities of non-verbal vocality to attune embodied relationality: “my task is not to ‘give voice to the patients’, instead, I try to create favourable conditions with my voice and presence to invite the participants to an entirely new dialogue. The role of the researcher is not a distant observer, but experiential in proximity.” The relationality enacted by performer/s, researcher/s, listener/s, participants in a musical event/encounter allows for overlappings of shared elevated (or even spiritual) experiences inspiring to new ways of thinking. Such existential experiences can be challenging to describe or to discursively articulate at a later stage. At the same time these ‘spiritual’ experiences provide a provocative point of departure for artistic research. The aim of this presentation is to open up for an intra-active discussion on relationality, with reference to voicing musicking/performing and the spiritual/existential experience; artistic research and religious studies/radical theology/new materialist/non-dualistic/holistic theories; artistic research in music and its potential contribution to existential meaning-making applicable for ex in pastoral care.
The music performed in this performance-paper refers to the city of Paris in the 17th century, to the fallen city of Jerusalem as described in the biblical Lamentations, and to Gothenburg and an early 20th century water cistern. Experiencing walls and scores constructed in the past sheds new light on future structures and potential relations.
Presented as "Voicing: an intra-active spiritual matter?"
at National Network for Artistic Research in Music (Nationellt nätverk för konstnärlig forskning i musik / NFKM) 23-24 Aug 2017, Royal College of Music, Stockholm, Sweden